Content[ edit ] The film argues for the liberation of female sexuality in equal, sensual relationships between the sexes in the 21st century. It accompanies five women from different cultural backgrounds who stand up pleeasure the repression of female sexuality in their cultural and religious communities.
The film reveals similarities among the different protagonists, and shows their struggle for self-determined sexuality,  and "each woman, all invaluable in terms of the work they are Inglewood sex fling, frame their stories in different ways", as Jordan Julian points out in her article in The Daily Beast :  The US-American author Deborah Feldman left the New York City Hasidic community ; the Somali psychotherapist Leyla Hussein had to undergo genital mutilation asand fights against this practice; Japanese manga artist Rokudenashiko was arrested several times because of her work featuring female genitalia ; Bavarian scholar Doris Reisingera former Wanting discreet fwb, reported publicly on the experiences of abuse in a spiritual community in Rome; and Vithika Yadav works as a sex education publisher in Delhi.
The film A womans pleasure directed by Barbara Miller. Box office[ edit ] In Switzerland, the film had the biggest box office of all Swiss documentaries of the year As Female Pleasure focuses on patriarchal constraints on women's sexuality,  film critics located the film as a contribution to the MeToo debate.
The 'orgasm gap': why it exists and what women can do about it
John DeFore from The Hollywood Reporter concluded that this documentary "reminds us that cultures around the world and throughout time have used sexual mores to assert control over women". Miller adds her contribution to the hottest debate through the eyes of five brave women willing to act and testify. Similar Muriel Del Don on Cineuropa. Women can and must assert their sexuality, not for the sake womasn duty, but in the name of pleasure, because this sexuality fast becomes a weapon with which to fight a patriarchy-prison of grotesque proportions.
All are survivors of rape or other forms of sexual assault. The issues they confront are not new; yet, the stories of their radicalization are engaging, and Miller's deft editing and objective approach result in a surprisingly intimate and life-affirming film. First, the role of the religion: "the documentary take[s] an explicit stance when it comes to religion: All the narratives involve biting critique against the treatment of peasure and women bodies within organized human faith.
Because, not only does the documentary present the responsibility we have as global citizens to educate ourselves in the contemporary state of the world, it also highlights the responsibility we have to be critical to the inevitably one-dimensional perspective enforced by the use of camera.